Desire 009 Jacques Lacan

Desire 009

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋
1958 – 1959

Seminar VI 12 November 1958

If we refer to our little schema, it will all the same help us a good deal. The reason why one makes schemas is in order to make use of them. One can however arrive at the same result without them, but the schema in a way guides us, shows us very obviously what is happening there in the real, the thing that presents itself, is properly speaking a phantasy, and by what mechanisms?

假如我們提到我們的小基模，那仍然幫助我們很大。我們為什麼要製作這個基模的理由是為了使用它們。可是，即使沒有它們，我們能夠到達相同的結果。但是這個基模以某種方式引導我們，非常明顯地跟我們顯示，在真實界發生什麼事情，代表它自己的東西，適當地說，是一種幻見。是什樣的機制的幻見？

It is here also that the schema can go further than what is permitted, I would say, by a kind of naive notion that things are (36) made to express something which in short would communicate an emotion as they say, as if the emotions in themselves did not
pose so many other problems, namely what they are, namely if they themselves do not already have a need for communication.

而且在這裏，基模能夠超越所被准許的東西。我不妨這樣說，有一種天真的觀念，事情被迫表達某件，總之，可以溝通情感的東西。好像情感本身並沒有形成如此多其他的難題。換句話說，它們的本質。也就是說，它們自己並沒有作為溝通的需要。

Our subject, we are told, is perfectly placid, namely that he presents himself in a way in the pure state, the presence of his word being its pure metonymical effect; I mean his word qua word in its continuity as word, and in this continuity of word precisely he makes the following intervene: the presence of death in so far as the subject may or may not escape it, namely to the degree that he evokes this presence of something which has the closest relationship with the birth of the signifier itself, I mean that if there is here a dimension in which death, or the fact that there is no more, can be both directly evoked, and at the same time veiled, but in any case incarnated, become immanent in an act, it is indeed that of signifying articulation.

聽說，我們的生命主體非常鎮定。換句話說，他呈現他自己，以某種程度的純粹的狀態，他的字詞的存在，處於它的純粹換喻的影響。我的意思是，他的字詞作為字詞處於連續性狀態的字詞，確實就是在字詞的這個連續性中，他做以下的介入：死亡的存在。無論生命主體能夠逃避它，換句話說，他召喚這個某件東西的存在。它跟意符本身的誕生有最密切的關係。我的意思是，假如在此有某個向度，死亡，或是生命不再存在這個事實，既被直接地召喚，又同時地被遮蔽。但是無論如何，它會被具體表現，成為一種行動的內在性。那確實就是意符化表達的內在性。

It is therefore to the degree that this subject who speaks so easily about death, it is quite clear that he does not wish this lady particularly well, but that on the other hand the perfect placidity with which he speaks of it implies precisely that in this regard he has dominated his desire, in so far as this desire as in Volpone, can be expressed by the lovable formula: “May you (37) stink and die!”

因此，到達這個程度，生命主體如此輕鬆地談論有關死亡。確實顯而易見的，他並沒有特別祝福這個老女士。但是在另一方面，他談論到死亡時的鎮定自若，確實暗示著：關於這一點，他曾經支配他的欲望。這個作為英國古典小說「狐坡尼」所表現的這個欲望，能夠用這個可愛的公式表達：「祝你早日歸天！」

He does not say that, he simply articulates serenely the level that this ……….. is worth to us each one in his turn which is here forgotten for a moment. But that, if I may put it this way, is not the devil, and the ………… will come one day or other, and at the same time this personage, poses himself as someone who does not fear to meet on equal terms the one he is talking about, to put himself at the same level, under the
influence of the same fault, of the same terminal legislation by the absolute master who is here made present.

他並沒有說，他僅僅寧靜地表達這個層次：對我我們而言，每一位元都會輪到這個「死亡」的向度被忘記。但是那並不是惡魔，假如容許我這樣說。「死亡」終有一天會來臨，同時這個人物呈現他自己，作為他並不害怕跟他所談論的這個死神平起平坐。他將自己放置於相同層次，承受相同錯誤的影響，承受相同的絕對主人的終點立法的影響。這位絕對主人在此不得不出現

In other words, the subject here reveals himself at the place of what is veiled by language as having this sort of familiarity, of fullness, of plenitude in the handling of language which suggests what? Precisely something on which I wish to terminate, because this is what was lacking in everything that I said in my development in three stages, for what is the mainspring, the highlight of what I wished to articulate for you to be complete.

換句話說，在此的生命主體顯示他自己，處於被語言遮蔽的位置，作為擁有這種熟悉，這種充實，這種豐富，當他在處理語言。這個語言建議什麼？確實是某件我希望給予終止的東西。因為這就是所欠缺的東西，在每一樣我說的東西，我以三個階段所做的發展。這就是我希望跟你們表達作為完整的主要動力，及強調點。

At the level of the first schema we have the innocent image. It is of course unconscious, but it is an unconsciousness which is only asking to become knowledge. Let us not forget that in the unconscious this dimension of being conscious, even in French, implies this notion.

在第一基模的層次，我們擁有這個純真的形象。那當然是無意識，但是但是這種無意識會要求成為知識。讓我們不要忘記，在無意識裏，成為意識的這個向度，即使在法文裏，都暗示著這個觀念。

At the level of the second and of the third stage of the schema, I told you that we had a much more conscious use of knowledge, I (38) mean that the subject knows how to speak and that he speaks.

在這個基模的第二及第三階段的層次，我告訴過你們，我們對於知識，有一個更加是意識的用途。我的意思是：生命主體知道如何言談，他從事言談。

This is what he does when he calls the other, and nevertheless it is here properly speaking that the originality of the field discovered by Freud and which he called the unconscious is to be found, namely this something which always puts the subject at a
certain distance from his being, and which means precisely that this being never rejoins him, and it is for this reason that it is necessary, that he can not do otherwise than reach his being in this metonymy of being in the subject which is desire.

這就是他所做的，當他召喚大它者。可是，適當地說，就在這裏，佛洛伊德發現的這個領域的原創性，他所謂的無意識的某件東西，能夠被找到。這個某件東西，總是將生命主體，放置於跟他的生命實存，有某段的距離。這確實意味著：這個生命的實存從來沒有跟他結合在一起。因為這個理由，他必然別無它法，除了就是以作為欲望的生命主體實存的換喻方式，到達他的生命的實存。

And why? Because at the level at which the subject is himself engaged, himself inserted into the word and because of that into the relationship to the other as such, as locus of the word, there is a signifier which is always lacking. Why? Because it
is a signifier, and the signifier is specially assigned to the relationship of the subject with the signifier. This signifier has a name, it is the phallus.

為什麼？因為在這個層次，生命主體本身從事的層次，他自己被插入於文字裏。因為那樣，插入跟大它者本身的關係，作為文字的軌跡，有一個總是欠缺的意符。為什麼？因為這是一個意符，這個意符特別被指定給生命主體，跟這個意符的關係。這個意符有一個名字，那就是陽具。

Desire is the metonymy of being in the subject; the phallus is the metonymy of the subject in being. We will come back to this.

欲望是生命主體的實存的換喻。陽具是生命主體於生命實存的換喻。

The phallus, in so far as it is the signifying element subtracted from the chain of the word, in so far as it involves every relationship with the other, this is the final principle which means that the subject in everything, and in so far as he is implicated in the word, falls under the sway of something that develops with all its clinical consequences, under the name of (39) the castration complex.

因為陽具是意符化的因素，從文字的意符鎖鏈扣減而來，因為陽具牽涉到每一層跟大它者的關係，這是最後的原則。它意味著：無論任何情形，當他被牽涉到文字裏，生命主體都會受到某件東西的影響。這個某件東西發展，帶來所有它的診所臨床的結果，以閹割情結對名義。

What is suggested by I would not say every pure, but perhaps more every impure usage of the words of the tribe, every kind of metaphorical unveiling, provided it is audacious and challenges what is always veiled by language, and what it always veils at the final term, is death.

我不敢說在部落的文字裏，每一個純粹的用法。在每一個不純粹的文字使用裏，每一種比喻的揭發，假如它足夠大膽，並且挑戰總是被語言遮蔽的東西，以及它總是在最後的術語遮蔽的東西。那就是死亡。

This always tends to give rise to, to make emerge this enigmatic figure of the missing signifier, of the phallus which appears here, and as always of course under the form that is called diabolical, the ear, the skin even the phallus itself, and if in this usage of the wager, the tradition of English wit, of this something contained which none the less does not dissimulate the most violent desire, but this usage is enough in itself to make appear in the imaginary, in the other who is there as a spectator in the small o, this image of the subject in so far as he is marked by this relationship to the special signifier which is called prohibition, here on this occasion in so far as it violates a prohibition, in so far as it shows that beyond the prohibitions which make up the law of languages, this is not the way to talk about old ladies.

這總是傾向於產生，為了使失落意符的謎團一般的意象出現，使陽具的意象出現。這個陽具出現在這裏，當然總是以所謂的惡魔的形態，這個耳朵，這個皮膚，甚至就是陽具的本身。假如在這個賭注的用途，英國機智語的傳統，這個某件被包含的東西，它仍然沒有掩飾這個最為強烈的欲望。但是這個用途本身就足夠使它出現在想像界，在大它者那裏。大它者在那裏作為作為這個小客體的觀眾，生命主體的意象。因為他被這個跟特別意符的關係所標示。這個特別意符被稱為「禁止」。在這個場合，它違背一個禁止。它顯示，超越這些禁止之外，這些禁止組成語言的法則。這並不是我們談論老婦人的方式。

Here all the same is a gentleman who intends to speak quite placidly and who makes the devil appear, and this is the point that our dear Darwin asks himself: how, in the name of the devil, did he do that?

在此，仍然有一位紳士打算要相當鎮定地言談。他讓惡魔出現。就在這個時刻，達爾文詢問他自己，以惡魔的名義，他是如何做到的？

I will leave you with that today. The next time we will take up (40) a dream in Freud, and we will try to apply our methods of analysis, and this will at the same time allow us to situate the different modes of interpretation.

今天，我在此跟你們告一段落。下一次，我們將探討佛洛伊德的一個夢。我們將設法運用我們精神分析學的方法。同時，這將使我們能夠找到不同的解釋的模式。

陳春雄譯
32hsiung@pchome.com.tw
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